Somewhat farther, three mounted “picadors” push their way through the people. The sun plays on their broad-brimmed white hats. They are athletic in build, but bony and lean. Their shaven faces have a stern, and, as it were, concentrated look. They are sitting on very high wooden saddles, hence they are perfectly visible over the crowd. Each of them holds in his hand a lance, with a wooden ball at the end of it, from which is projecting an iron point not above half an inch long. The picador cannot kill a bull with a weapon like that,—he can only pierce him or stop him for a moment; but in the last case he must have in his arm the strength of a giant.
Looking at these men, I remember involuntarily Doré’s illustrations to “Don Quixote.” In fact, each of these horsemen might serve as a model for the knight “of the rueful visage.” That lean silhouette, outlined firmly on the sky, high above the heads of the multitude, the lance standing upright, and that bare-boned horse under the rider, those purely Gothic outlines of living things,—all answer perfectly to the conception which we form of the knight of La Mancha, when we read the immortal work of Cervantes.
But, the picadors pass us, and urging apart the crowd slowly, push forward considerably. Now only three lances are visible, three hats, and three coats embroidered on the shoulders. New men ride up, as incalculably similar to the first as if some mill were making picadors for all Spain on one pattern. There is a difference only in the color of the horses, which, however, are equally lean.
Our eyes turn now to the long row of carriages. Some are drawn by mules, but mules so large, sleek, and beautiful that, in spite of the long ears of the animals, the turn-out does not seem ridiculous. Here and there may be seen also Andalusian horses with powerful backs, arched necks, and curved faces. Such may be seen in the pictures of battle-painters of the seventeenth century.
In the carriages are sitting the flower of Madrid society. The dresses are black, there is very black lace on the parasols, on the fans, and on the heads of ladies; black hair trimmed in forelocks, from under which are glancing eyes, as it were, of the lava of Vesuvius. Mourning colors, importance, and powder are the main traits of that society.
The faces of old and of young ladies also are covered with powder, all of them are equally frigid and pale. A great pity! Were it not for such a vile custom, their complexion would have that magnificent warm tone given by southern blood and a southern sun, and which may be admired in faces painted by Fortuni.
In the front seats of the carriages are men dressed with an elegance somewhat exaggerated; they have a constrained and too holiday air,—in other words, they cannot wear fine garments with that free inattention which characterizes the higher society of France.
But the walls of the circus are outlined before us with growing distinctness. There is nothing especial in the building: an enormous pile reared expressly to give seats to some tens of thousands of people,—that is the whole plan of it.
Most curious is the movement near the walls. Round about, it is black from carriages, equipages, and heads of people. Towering above this dark mass, here and there, is a horseman, a policeman, or a picador in colors as brilliant as a poppy full blown.
The throng sways, opens, closes, raises its voice; coachmen shout; still louder shout boys selling handbills. These boys squeeze themselves in at all points among footmen and horsemen; they are on the steps of carriages and between the wheels; some climb up on the buttresses of the circus; some are on the stone columns which mark the way for the carriages. Their curly hair, their gleaming eyes, their expressive features, dark faces, and torn shirts open in the bosom, remind me of our gypsies, and of boys in Murillo’s pictures. Besides programmes some of them sell whistles. Farther on, among the crowds, are fruit-venders; water-sellers with bronze kegs on their shoulders; in one place are flower dealers; in another is heard the sound of a guitar played by an old blind woman led by a little girl.